Here’s how Opera News headed its review of the Dallas Opera’s 2016 of Manon:
The chief splendor of the evening came from the singers. Baritone Edwin Crossley-Mercer turned Manon’s cousin, Lescaut, into a complex dramatic figure, a louche gambler and seducer . . . [he] proved his ability to combine the delicacy of a voice that has done wonders on the recital stage with a resonant power that projects through the opera hall.
The French FORUMOPERA wrote this about his performances of Michael Linton’s Carmina Catulli:
Amid this gasping eroticism, the French-Irish baritone, Edwin Crossley-Mercer, acquits himself con brio. What a vocal palette is his! It ranges from the most suffocating sensuality expressed in « Nulla potest mulier », sung in a whisper, as is « Mellitos oculos tuos », to raging anger and a lover’s despair. The singer’s every vocal subtlety is explored, even up to falsetto.
Other critics have described his performances as “dazzling”, and “a revelation.”
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